It seems that the AV industry is going to use a studio format more and more for virtual events, so it could be very useful to have access to a broadcast-grade facility. “I think there could be increasing crossover from broadcast to AV in the use of more broadcast studio-type environments.
That’s not something I’d have thought necessary back in 2018, but now it makes a lot of sense with the camera being the prime focus about half the time. If I’ve got a virtual production crew of three or more cameras, then I’ll want one of the operators to act as a director of photography. “I’ve also learned from broadcast in my role as a project and location manager. That’s the opposite of traditional live events, where the requirement tends to be for a fairly dark stage with specific areas illuminated as and when needed,” he adds. “With lighting for virtual events you primarily want a flat, bright state with hints. By the time of the second we’d started bringing in ARRI SkyPanels (compact, ultra-bright LED soft lights) and other products with a broadcast background, and approaching everything in a much more TV-like way. “For the first event we were still using very standard theatre and AV lighting equipment. “To pick one example, I’d contrast two corporate events – one held at the very start of the pandemic, and one six months into lockdown,” says Macrow. The pandemic-induced shift to virtual events has been a golden opportunity to borrow and learn from the world of broadcast, according to Ben Macrow, account manager at integrator, Anna Valley. There’s no comparison between the visual interest of a multi-camera production or tracking shot, and a single, static camera image.” “They should also pay heed to the way broadcast uses motion and multiple camera angles to maintain engagement over the course of a programme. AV pros should explore tools such as OBS, vMix and Wirecast, and get comfortable incorporating graphics, pre-produced video segments, remote guests and other production effects into streams and meetings for high-profile events. “Video production tools have never been more varied or accessible.
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The AV industry has an opportunity to upgrade participant experiences by embracing broadcast production tools, believes Stephen Heywood, a broadcast engineer at PTZOptics. From MPs setting up remote, self-operated green screen studios at home, to weekly sales meetings that work equally well for those at home and in the office, image is important.” “People are tired of endless Zoom calls and are much quicker to criticise the poor lighting or camera angles delivered by people presenting from a laptop on a poorly lit kitchen table. “After the initial rush to get any kind of content out at the beginning of the pandemic, enterprise and corporate teams quickly realised that their brand reputation could be at stake producing material with low production values, or even a poor internet connection,” says Scott Noble, sales manager at DigiBox. Production values matter, and AV is now catching up to this.” “This ranges from image touch-up filters built into Zoom, to entire shows produced using modern broadcast tools.
“One trend I’ve seen since Covid began is a move towards higher quality content creation,” says Justin Kennington, president of the SDVoE Alliance.
Log in to your Dacast account and select your stream by clicking the pencil icon under “Edit.So how can each industry learn from the different, but often complementary, approach of the other? Broadcast’s dedication to artistic and production quality is certainly something that AV seems to be taking on board.
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How to stream with Dacast using Wirecast 1. The following encoder settings are required for live streaming with Dacast, regardless of your selected resolution and bitrate: VIDEO CODEC This means that the encoder feeds digital video files to the streaming platform using RTMP (real-time messaging protocol) server technology to ingest streams in real-time.
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Wirecast is an example of a software encoder that uses RTMP-enabled encoding for live streaming. Video encoding is a process used to convert the RAW video files captured by a camera into digital files suitable for live streaming over the internet. Before reviewing the walkthrough to encode your live stream with Wirecast, let’s take a look at what exactly an encoder is and the purpose it serves for live streaming. To ensure your system is compatible, check out our post on the minimum Wirecast system requirements. Written Tutorial: How to Live Stream with Wirecast encoder
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